• 화훼연구
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• 제19권3호
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• pp.168-171
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• 2011

팔레놉시스 '스노우 엔젤'(Snow Angel)는 2008년도에 국립원예특작과학원에서 육성한 품종이다. 백색에 진홍색 레드립 중소형종 '0361'을 모본으로 하고 백색에 분홍 그물무늬와 진분홍립을 가진 중소형종 'S98PN1'을 부본으로 하여 인공교배 하였다. 2000년부터 2002년까지 83개체의 실생을 계통양성 하였다. 계통 중에서 꽃 모양이 둥글고 흰색에 분홍립을 가진 소형의 팔레놉시스 '99-0404-13'을 개체 선발하였다. 선발된 계통에 대하여 2003년부터 2007년까지 개체증식 및 1차 생육특성검정을 수행하고, 2008년에 '원교 F2-18'로 계통명을 부여하여 2차 특성검정, 안정성, 균일성에 대한 연차별 재현성 및 기호도 평가를 수행하였다. 꽃 모양과 화색, 재배력 등 그 우수성이 인정되어, 2008년에 직무육성품종심의회를 거쳐 '스노우 엔젤'로 명명하고 품종 등록하였다.

• 한국작물학회:학술대회논문집
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• 한국작물학회 2022년도 추계학술대회
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• pp.318-318
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• 2022

Basil(Ocimum basilicum L.) is an annual herb that grows wild in hot and humid regions such as tropical Asia and Africa. This study was carried out for resource discovery, propagation, and DB construction of aromatic plants. In order to evaluate the genetic characteristics, 28 kinds of basil seeds were supplied from the Center for Genetic Resources. For basil characteristics, planting date, plant height, growth shape, leaf length, leaf shape, petiole color, petiole, stem color, flower color, after harvest, Ml length including roots, flower length, stem thickness and biological weight were measured. For anthocyanin analysis, only basil with purple color was selected, anthocyanins were extracted with 60% ethanol containing 1% citric acid, a standard quantitative curve was prepared with cyanidin-3-glucoside, and absorbance was measured at 525 nm. Basil planting started around June 16, and the flowering period lasted for a total of 18 days from July 19 to August 5. On August 6, when flowering was completed, morphological characteristics including flower color were measured at the site by an object. The measured basil plant length was 26.6-59.6 cm, leaf length 2.0-7.9 cm, leaf width 0.7-5.2 cm, and petiole 1.3-3.9 cm. The growth pattern of basil was generally straight, medium in shape. The color of the leaves was observed evenly by mixed green, purple, purple and green, and the recesses in the shape of the leaf were also conspicuously observed. A total of three basil flower colors were observed: white, light pink(149P 10P/84), and purple(37V 2.5RP 4/12). During the second growth survey after harvest, the total length including the basil roots is 26.7-52.0 cm, the flower length is 8.2-29.3cm, the stem thickness is 7.1-15.9mm, the number of stem nodes is 3-12 nodes, and the total weight of the basil was measured to be about 218-1540 g. There are a total of 16 types of basil expressed in purple, and the anthocyanin content was measured to be 73.74 ~ 380.72 mg/100g.

• 복식
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• 제64권7호
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• pp.29-44
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• 2014

This thesis aims to compare the representative costume patterns of the Chinese Qing dynasty and contemporary $18^{th}$ century French costumes. As a research method, qualitative research was performed to compare and analyze the patterns of the flowers, the birds and pagoda shown in Qing dynasty and France. The results are as follows: The Chinese flower patterns used the embroidery technique for 3-step gradation colors to decorate flowers with less than 10 petals. Also, the forms of the flowers were large and simple in China. The flower patterns of the 18th century France is more similar to those of Qing dynasty than to the traditional French flower patterns. They used the drawing technique for the gradation colors and completed the work by embroidery. In the case of bird patterns, the crane on menswear, and the phoenix on women's wear were applied to signify the symbolic feature of the Chinese symbolism. On the other hand, those in France were used solely for the division of the gender. As a result the clear form of the birds in China contrasted with the unclear forms of birds in France. During the influx of mandarine square to France from China, the application of crane and phoenix according to gender seems to be stressed emphatically without considering their symbolic meaning. In light of the pagoda pattern, Qing dynasty showed interest only in the form of pagoda, denoting the simple two-tier structure without detailed description. Whereas in France, the pagodas were three or four tiers, with gorgeous colors and much more detail than those of Qing dynasty. In conclusion, the main determinants of influences on the patterns of France from China would be forms, colors, constructions and technique of embroidery, along with the disregard for symbolic significance.

• 한국의류학회지
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• 제31권8호
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• pp.1252-1261
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• 2007

The purpose of this study was to grasp the utilization of traditional Korean Patterns used for fashion cultural products. To achieve this purpose, this study examined the range of fashion cultural products through literature review, previous researches, and market surveys and analyzed the situation of fashion cultural products and the kinds, expression methods, expression techniques, and repeat styles of utilized patterns. The analysis results are as follows. First, in the use of traditional pattern, the most frequently-used fashion cultural products were small and inexpensive accessories, followed by fashion apparel, miscellaneous goods, and living cultural goods. Second, the most frequently-used traditional patterns were plant patterns, especially flower patterns. The next frequently-used ones were mixed patterns, especially in the mixture of flower and letter patterns, and $cloisonn\'{e}$ and flower patterns. The next frequently-used traditional patterns were animal patterns(especially butterfly patterns), followed by geometric patterns, lucky omen patterns, and letter patterns. In the expression methods of used patterns, most products except handicrafts preferred simplified patterns to real patterns. Finally, in the expression techniques of traditional patterns, the most frequently used technique was traditional embroidery, followed by the use of weaving fabrics such as fine gauze and brocade which are used for Hanbok. Also, transfer dyeing which is one of printing techniques, DTP(digital textiles printing), a mixed technique which adds embroidery to weaving fabrics, hand-painting, and a gilt technique were used. The results of this study suggest that most fashion cultural products except few designers' works attached weight to some specified patterns and expression techniques regardless of the characteristics of products since there is little understanding of a variety of patterns and are few researches and development on expression techniques.

• 스마트미디어저널
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• 제10권2호
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• pp.70-75
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• 2021

디자인에 있어서 유사한 디자인들을 그룹핑하여 분류하는 것은 관리적인 측면에서 효율성을 높여주고 사용적인 측면에서는 편의성을 제공한다. 본 연구는 인공지능 알고리즘을 이용하여 텍스타일 디자인을 도트, 꽃무늬, 줄무늬, 그리고 기하학으로 4개의 카테고리로 분류하고자 하였다. 특히, 인공지능의 관점에서 분류의 근거가 되는 관심 영역을 찾아내고 설명할 수 있는 지를 탐색하였다. 총 4,536개의 디자인을 8:2의 비율로 무작위 추출하여 학습용 데이터 3,629개와 테스트용 데이터 907개로 구성하였다. 분류에 사용된 모델은 VGG-16과 ResNet-34로 두 모델의 꽃무늬 디자인에 대한 정밀도는 각각 0.79%, 0.89%이며, 재현율은 0.95%, 0.38%로 우수한 분류 성과를 보였다. LIME(Local Interpretable Model-agnostic Explanation) 기법을 이용하여 분석한 결과에 따르면, 기하학과 꽃무늬 디자인의 경우 도형과 꽃잎 부분이 분류의 근거가 되는 관심 영역으로 도출되었다.

• 복식
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• 제62권5호
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• pp.96-107
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• 2012

In ancient times, immigrants from Baekje wore various kinds of costumes that provided technological and aesthetic guidance for the Japanese costume, which has been modified and changed in Japan. The clothing and ornaments were strongly influenced directly by costumes of the Baekje period; therefore, many of the Japanese costumes at that time were crafted in the Baekje style. Through the antique records, paintings of tombs and bequests, we were able to find similarities between Baekje and Japan costumes in these categories: clothes, headgear, belt hooks and belt plaques, bronze shoes, and ornaments. (1) Clothes : They wore high-shaped hat and jacket and trousers(;袴) tied the bottom. (2) Headgear : There was a gilt bronze Conical Cap attached to the long tube with terminals in the shape of a hemisphere. (3) Belt hooks and belt plaques: There were horse-shaped belt hooks in mane styles and a checkered pattern on the lower part of the haunch and a belt Plaque shaped like the face of an animal. (4) Gilt bronze shoes: They were made with the style that had two side plates fixed in the instep side and heel-side. (5) Ornaments : They were made with flower-shaped plaques and spiral-shaped decorations. One earring was made with a three-winged pendent that were connected in a chain style and the others were in unique forms that were made by connecting narrow rings and a heart-shaped pendent.

• 복식
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• 제60권3호
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• pp.123-137
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• 2010

The purpose of this study is contemplating and substantiating Korean Empire's court costume through relics and photos. Additionally, the meaning of the pattern of Mugunghwa as the national symbol in the court costume is considered. The results of this study are following. First, a phased introduction of western-style court costume was executed through Ulmi Reformation in 1895 and Court Costume Rule in 1900. U1mi Reformation was characterized by transitional reformation because newly introduced system and traditional costume consolidated in costume. Under Court Costume Rule, however, by accepting western-style on contemporary costume, modernized style was settled in every respect of form and matter. The court costume comprised bicorn, coat, vest, pantaloon, sword, sword belt, white collar and white gloves at audience with the Emperor. Second, by examination of the relics of Chigimgwan and Juimgwan, it was confirmed that the court costume was manufactured in foreign countries such as France and Russia on the basis of order. It was also identified by pictures that court costume was worn by diplomats dispatched. Third, the pattern of Mugunghwa in court costume was featured by embroidery of 6 petal pattern. And the pattern of Mugunghwa, as national symbol, has important meaning in view of history and national affection, while Japanese and European adopted the crest of the royal household. In summary, Korean Empire proclaimed modernized court costume institution to handle international relationship driven by West. It was uneasy reformation in adopting western court costume imported from overseas because its textile and style were completely different from traditional costume. However, the willingness of Korean Empire should be reevaluated in the history of Korean costume, in that Korean Empire established court costume proclaimed its sovereignty domestically and overseas, and that the pattern chosen as national symbol was that of Mugunghwa which is current national flower.

• 한국의상디자인학회지
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• 제21권1호
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• pp.163-180
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• 2019

A pattern is a symbolic mark of the psychological expression and ornamental desire of the human interior. In particular, plant patterns, from ancient times to modern times, express beauty across both the east and the west. The Joseon dynasty had a strong national will, and it was a time when the symbolism of Korea was established. Plant patterns were decorative and symbolic, filled with meaning in both the textile and craft sectors. This study looked at the frequency and figurative characteristics of the types of plant patterns in textiles, ceramics, woodworking, and metal craftsmanship of the Joseon dynasty. In addition, pattern designs were developed by extracting unit patterns to maintain the original shape, and by adding, magnifying, reducing, and superimposing flat steps and employing the four-fold sequence. The data collected was 826 examples in textiles and crafts, and 34 species of plants were analyzed as follows. In general, the flower patterns preferred soft flowers, flowers, apricot, and peony patterns, and fruit patterns emerged as decorative designs for pottery and woodwork from the 17th century, featuring pomegranates, grapes, fluorines, peaches, and walnut floss. Textiles and woodwork were arranged with many circular designs, while pottery and metal crafts were filled in many ways. Expressive types appeared to be the same as stylistic types for textiles and ceramics, and the construction types were the same in pottery and metal crafts. As such, it was found that even in the different areas of the sculpture, the same aesthetic values were reflected in the common figurative features today. Therefore, in this study, we developed a unique and competitive pattern design that accommodates the modern times and the Joseon dynasty. This development is expected to contribute not only to the development of cultural and tourism products in the future, but also to the tourism industry induced by the Korean wave.

• Acta Via Serica
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• 제7권2호
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• pp.153-178
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• 2022

This study analyzes the traces of East-West cultural exchange focusing on the palmette pattern expressed on Sassanid Persian and Silla Korean carpets. The results of the study are as follows. The palmette, which originated in ancient Egypt, is an imaginary flower made up of the transformation of a lotus, which combined with the Mesopotamian quadrant (四分法) and expanded to a four-leaf palmette and further to an eight-leaf palmette by applying the octant (八分法). The palmette, which was brought to Assyria, Achaemenid Persia, Parthia, Greece, and Rome, can be seen lavishly decorated with plant motifs characteristic of the region. Sassanid Persia inherited the tradition of the palmette pattern, which applied the quadrant and octant seen in several previous dynasties. On the one hand, it has evolved more splendidly by combining the twenty or twenty-one-leaf palmette and the traditional pearl-rounded pattern decoration of Sassanid Persia. These Sassanid Persian palmette patterns can be found through the palmette patterns depicted on the ceilings of the Dunhuang Grottoes located on the Silk Road. The palmette pattern of the Dunhuang Grottoes was expressed in the form of a fusion of Persian Zoroastrianism, Indian Buddhism, and indigenous religions. In the Tang Dynasty, it shows the typical palmette pattern of four and eight leaves in the medallion composition, which were mainly seen in Persian palmettes. The palmette pattern handed down to Silla can be found on a Silla carpet, estimated to be from around the 8th century, in the collection of Shoso-in (正倉院), Japan. The Silla carpet shows a unique Silla style using motifs such as peonies and young monks, which were popular in Silla while following the overall design of the Persian medallion.

• 한국의류산업학회지
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• 제6권2호
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• pp.135-143
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• 2004

In an information-oriented and internalized society of the future, the quality and price of goods made by each country will be equalized. That eliminates competition. But the design and appearance of products is an important factor in international competition. Indeed, design symbolizes a country's culture visually, and it can show the cultural identity and originality of a nation in international society. And that will play an important part that can contribute to creating added value. It is necessary to revive our people's old lyrical stories which are far away from our memory, and we badly need design development to revive traditional cultural merchandise through visual modernization. Among various Korean cultural inheritances, lotus is often seen in tiles, porcelains and folk stories. In this study, I chose lotus as the subject material of textile design development, and my intention for this study is to reflect Korean traditional cultural value as much as I can, and to develop textile design of Korean images by adding modern scenes. For that, first I researched lotus pattern materials and examples of cultural merchandise.